20/05/24 - 10/06/24 (Week 5 - Week 8)
Andrea Choo Qin Hui (0366959)
Andrea Choo Qin Hui (0366959)
Advanced Typography / Bachelor of Design (Hons) in Creative Media
Task 2 : Key Art / Collateral
LECTURES
Week 5: (Advanced Typography - Perception and Organisation)
・Contrast / Size :
- Provides a point to which the reader's attention is drawn.
- If you have a big letter and a small letter you will obviously see the big letter first
before the small.
- Most common use of size is making a title or heading noticeably bigger than the body
text.
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・Contrast / Weight :
- Describes how bold type can stand out in the middle of lighter type of the same style.
- Other than using bold, using rules, spot squares also provide a 'heavy area' for a
powderful point of visual attraction or emphasis, therefore not only types of
varying weight.
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・Contrast / Form :
- Distinction between a capital letter and its lowercase equivalent, or a roman letter
and its italic variant, condensed and expanded versions of typeface are also included
under the contrast of form.
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・Contrast / Structure :
- Means the different letterforms of different kinds of typefaces.
- For example, a monoline sans serif and a traditional serif, or an italic and a
blackletter.
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・Contrast / Texture :
- By putting together the contrast of size, weight, form and structure and applying them
them to a block of text on a page, you come to the contrast of texture.
- Texture refers to the way the lines of type look as a whole up close and form a
distance.
- This depends partly on the letterforms themselves and partly on how they're
arranged.
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・Contrast / Direction :
- Is the opposition between vertical and horizontal and the angles in between.
- Turning one word on its side can have a dramatic effect on a layout.
- Text blocks also have their vertical or horizontal aspects of direction.
- Mixing wide blocks of long lines with tall columns of short line can also create a
contrast.
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・Contrast / Colour :
- The use of colour is suggested that a second colour is often less emphatic in values
than in plain black and white.
- It is important to give thought to which elements need to be emphasized and to pay
attention to the tonal values of the colours that are used.
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・Form :
- Refers to the overall look and feel of the elements that make up the typographic
composition.
- Part that plays a role in visual impact and first impressions.
- The interplay of meaning and form brings a balanced harmony both in terms of
function and expression.
・Organisation / Gestalt :
- Gestalt Psychology is an attempt to understand the law behind the ability to acquire
and maintain meaningful perceptions.
- Gestalt theory emphasises that whole of anything is greater than its parts -- this is
based on the idea on that we experience things as unified whole.
INSTRUCTIONS
EXERCISE
Task 2A - Key Art
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| Figure 1.1 Mind Map (18/05/24) |
This was the task I was honestly most looking forward to but when it came to actually
designing a wordmark to identify myself, that's where my head when blank. How do
people actually perceive me? That was the main question I had in the back of my mind.
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| Figure 1.2 Sketches (20/05/24) |
I finally came to the conclusion where when people first meet me, their very first
impression of me is scary or mad looking. So that is what I wanted my word mark to be,
either scary/grungy looking or the complete opposite, neat/well put together.
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| Figure 1.3 Moodboard for Wordmark (27/05/24) |
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| Figure 1.5 Draft Wordmark After Feedback (27/05/24) |
After receiving feedback from Mr. Vinod, he encouraged me to use the scary/grungy
wordmark as my final key art as it looks much better than the neat/put together one
that I had shown him.
Mr. Vinod said that this was the best looking one I've made compared to the others so I
decided to choose this for my final wordmark. I tested out different formats and finally
came up with the final wordmark I was gonna use in Figure 1.5.
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| Figure 1.7 Final Wordmark (28/05/24) |
Final Task 2B - Key Art
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| Figure 1.8 Final Key Art Submission (05/06/24) |
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| Figure 1.9 Final Key Art Submission (05/06/24) |
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| Figure 1.10 Final Key Art Submission (05/06/24) |
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| Figure 1.11 Final Key Art Submission (05/06/24) |
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| Figure 1.2 Final Key Art Submission (05/06/24) |
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| Figure 1.13 Final Key Art Submission (05/06/24) |
Task 2B - Artwork & Collateral
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| Figure 2.1 Expanding (05/06/24) |
I took the As from the first and last of my name 'Andrea' and combined them into my
identity. It honestly took me awhile since I created an identity that I really liked and
that also suited the scary/grunge theme I already had.
After finalising my expansion, I went to find some mockups on Google that suits my
brand the best.
Final Task 2B - Artwork & Collateral
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Animated Wordmark
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Before I started animating, I planned out how I wanted the animation to go. Then, I
proceed to start my animation in After Effects.
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| Figure 3.1 Animation Progress on AE (10/06/24) |
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I didn't like how slow the word zooms out so I decided to try and make it faster.
Final Animated Wordmark
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FEEDBACK
Week 5
General Feedback: Should test on an unsuspecting victim and see if they can
remember the design. Questions you should ask yourself: would
you buy it if your design is on a shirt/ on a sticker etc.
Specific Feedback: Must think about what i want to convey in my wordmark, there is
also too much white space in my designs.
Week 6
General Feedback: The final wordmark should not have too much white space. The
chosen colour palette should not be pastels.
Specific Feedback: The neat/well put together wordmark sizing for each letter is not
equal, use the grungy/scary one as my final wordmark instead as
it looks better and more reflective and accurate to my idea and I
should add an off white colour to my chosen colour palette.
REFLECTIONS
Experience: In my opinion, this was the most fun task to do, at the same time this task required alot of my creativeness. I will admit that this task was one I was looking forward the most to, but when it came to actually designing my wordmark and making the collateral, I ran out of ideas on what I could do/make that is similar to my chosen word. Eventually, after looking at Pinterest for some inspiration, I got the creative energy to design.
Observations: I discovered that you could make a wordmark basically out of anything. As I was making my wordmark, I also discovered that a significant change on the wordmark can affect its appearance and overall feel. Therefore, these subtle adjustments can convey different messages and emotions, also highlighting the importance of attention to detail in graphic design.
Findings: Throughout this task, I found out that for someone to design more effectively, there must be a clear purpose. Understanding the objective behind a design helps guide decisions and ensures that every element contributes to the overall message or function. Knowing that, I kept that in my mind while designing my wordmark, so that I wouldn't stray from the meaning of it.
FURTHER READINGS
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Typographic Design: Form and Communication was written by Rob Carter, Philip B.
Meggs, Ben Day, Sandra Maxa and Mark Sanders. For graphic designers, there is no
better resource than Typographic Design: Form and Communication, which offers a
thorough introduction to visual word art. Typography, when executed effectively,
conveys far more than mere words alone. The impact of a message, the connections you
draw and its overall effectiveness are all impacted by its typographic design. An
essential part of nearly any graphic design job is typographic design, which
encompasses both print and digital media. Aspiring designers would benefit greatly
from this book's comprehensive coverage of type, which includes letterforms, negative
space, messaging, procedures, and history, among other important topics. (taken from
Amazon)
The Anatomy of Typography
Typographic design is a multifaceted discipline that demands a comprehensive
background for effective practice. This chapter delves into the foundational language of
typography. It closely examines letterforms, which are the essential building blocks of
all typographic communications. The discussion includes terminology, measurement,
and the characteristics of typographic fonts and families.
The alphabet consists of a series of basic visual symbols arranged in a fixed sequence to
represent spoken sounds. Each letter signifies a specific sound or name. The twenty-six
characters of our alphabet can be combined to form hundreds of thousands of words,
creating a visual representation of spoken language. This phenomenon is the essence of
writing and typography, often described as 'thoughts made visible' and 'frozen
sounds'.
The Parts of Letterforms
Over the centuries, a specialised terminology has emerged to identify the various
elements of individual letterforms. By mastering this vocabulary, designers and
typographers can gain a deeper understanding of and appreciation for the visual
harmony and intricacy of the alphabet.
In medieval times, horizontal guidelines were used to contain and align each line of text.
Nowadays, letterforms and their components are conceptualised on imaginary
guidelines to ensure uniformity in typography. All characters align optically along the
baseline. The body height of lowercase characters aligns at the x-height, while the tops
of capital letters align along the capline. Typeface designers make optical adjustments to
achieve these precise alignments.
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| Figure 1.3 The Parts of Letterforms |
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